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Mozart: A Cultural Biography Hardcover – November 29, 1999

• Print length 992 pages
• Language English
• Publisher Houghton Mifflin Harcourt
• Publication date November 29, 1999
• Dimensions 6 x 2 x 9.25 inches
• ISBN-10 015100482X
• ISBN-13 978-0151004829
• See all details

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• Publisher ‏ : ‎ Houghton Mifflin Harcourt; First Edition (November 29, 1999)
• Language ‏ : ‎ English
• Hardcover ‏ : ‎ 992 pages
• ISBN-10 ‏ : ‎ 015100482X
• ISBN-13 ‏ : ‎ 978-0151004829
• Item Weight ‏ : ‎ 3 pounds
• Dimensions ‏ : ‎ 6 x 2 x 9.25 inches
• #430 in Classical Musician Biographies
• #1,940 in Television Performer Biographies
• #3,323 in Music History & Criticism (Books)

About the author

Robert w. gutman.

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• DOI: 10.1080/00438243.1999.9980439
• Corpus ID: 144391819

The cultural biography of objects

• C. Gosden , Yvonne Marshall
• Published 1 October 1999
• World Archaeology

891 Citations

Archaeological theory and scientific practice, reinvigorating object biography: reproducing the drama of object lives.

• Highly Influenced

How to Write a Cultural Autobiography

A cultural autobiography is much more than merely narrating events from your life. It reveals your assumptions and digs deep into your psyche to bring out preconceived notions of culture in relation to the micro-cultures and subgroups that make up identity and your role within society. Writing a cultural autobiography may allow you to not only understand your deeper self but also the roles of others within the society. In such a multicultural world, understanding your own cultural identity as well as being more open to others is extremely important in the workplace and home.

Determine your placement in each micro-culture. According to Dr. Marybeth Peebles, associate professor of education at Marietta College, there are nine micro-cultures: socioeconomic status, race, ethnicity, gender/sexual orientation, language, religion, exceptionality (mentally or physically disabled or gifted), age and geography.

Examine the subgroups and your roles within them, in relation to each micro-culture. The subgroups, which are listed in the resources section, are where you fall in the micro-culture. For example, in socioeconomic status it refers to underclass, middle class, upper class or somewhere in between. For race it refers to Caucasian, Asian, Hispanic and more. Ethnicity, on the other hand, refers to where a person is from like Africa, Latin America, Eastern Europe, Central Europe or elsewhere. Geography refers to the region or environment a person is from like mountains or the ocean. For example, a Caucasian male would fall into the dominant subgroup in both race and gender but if that same man spoke only Gaelic in the United States, his experiences would be much different than someone who spoke only English or was multilingual.

Consider how your experiences within the cultural subgroups that you inhabit have shaped your personality and identity in relation to others in your life who may fall into different cultural subgroups. For example, the only girl in a family with six brothers will have a different societal and cultural outlook from another female, who falls into all the same subgroups but grew up an only child or with sisters.

Conclude with a summary of your cultural identity based on experiences that you have discussed. Wrap up the discussion neatly and succinctly.

Things You'll Need

• Marietta College: "Education 452; Cultural Autobiography" by Marybeth Peebles, Ph.D.
• Eastern University: "Cultural Autobiography for Christian Multicultural Educators: A Way of Understanding Self and Others" by Heewon Chang, Ph.D

Jennifer Streit is a freelance writer with degrees in English, creative writing and history. After over a decade in education, she now teaches at home and writes full-time. Her work appears in many forums online as she shares her passion for life, children and the outdoors with others.

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• Literary Devices - Biography
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biography , form of literature , commonly considered nonfictional, the subject of which is the life of an individual. One of the oldest forms of literary expression, it seeks to re-create in words the life of a human being—as understood from the historical or personal perspective of the author—by drawing upon all available evidence, including that retained in memory as well as written, oral, and pictorial material.

Biography is sometimes regarded as a branch of history , and earlier biographical writings—such as the 15th-century Mémoires of the French councellor of state, Philippe de Commynes , or George Cavendish’s 16th-century life of Thomas Cardinal Wolsey —have often been treated as historical material rather than as literary works in their own right. Some entries in ancient Chinese chronicles included biographical sketches; imbedded in the Roman historian Tacitus ’s Annals is the most famous biography of the emperor Tiberius ; conversely , Sir Winston Churchill ’s magnificent life of his ancestor John Churchill, first duke of Marlborough , can be read as a history (written from a special point of view) of Britain and much of Europe during the War of the Spanish Succession (1701–14). Yet there is general recognition today that history and biography are quite distinct forms of literature. History usually deals in generalizations about a period of time (for example, the Renaissance), about a group of people in time (the English colonies in North America), about an institution (monasticism during the Middle Ages). Biography more typically focuses upon a single human being and deals in the particulars of that person’s life.

Both biography and history, however, are often concerned with the past, and it is in the hunting down, evaluating, and selection of sources that they are akin. In this sense biography can be regarded as a craft rather than an art: techniques of research and general rules for testing evidence can be learned by anyone and thus need involve comparatively little of that personal commitment associated with art.

A biographer in pursuit of an individual long dead is usually hampered by a lack of sources: it is often impossible to check or verify what written evidence there is; there are no witnesses to cross-examine. No method has yet been developed by which to overcome such problems. Each life, however, presents its own opportunities as well as specific difficulties to the biographer: the ingenuity with which the biographer handles gaps in the record—by providing information, for example, about the age that casts light upon the subject—has much to do with the quality of the resulting work. James Boswell knew comparatively little about Samuel Johnson ’s earlier years; it is one of the greatnesses of his Life of Samuel Johnson LL.D. (1791) that he succeeded, without inventing matter or deceiving the reader, in giving the sense of a life progressively unfolding. Another masterpiece of reconstruction in the face of little evidence is A.J.A. Symons ’ biography of the English author and eccentric Frederick William Rolfe , The Quest for Corvo (1934). A further difficulty is the unreliability of most collections of papers, letters, and other memorabilia edited before the 20th century. Not only did editors feel free to omit and transpose materials, but sometimes the authors of documents revised their personal writings for the benefit of posterity , often falsifying the record and presenting their biographers with a difficult situation when the originals were no longer extant .

The biographer writing the life of a person recently dead is often faced with the opposite problem: an abundance of living witnesses and a plethora of materials, which include the subject’s papers and letters, sometimes transcriptions of telephone conversations and conferences, as well as the record of interviews granted to the biographer by the subject’s friends and associates. Frank Friedel, for example, in creating a biography of the U.S. president Franklin D. Roosevelt , had to wrestle with something like 40 tons of paper. But finally, when writing the life of any person, whether long or recently dead, the biographer’s chief responsibility is vigorously to test the authenticity of the collected materials by whatever rules and techniques are available. When the subject of a biography is still alive and a contributor to the work, the biographer’s task is to examine the subject’s perspective against multiple, even contradictory sources.

WashU Libraries

Art + design capstone project | cultural biography of an object.

• Finding Sources
• Citing Sources
• CB Assignment + Other Documents

Sam Fox School Faculty

Art & Architecture Librarian

This guide is intended to help you with the research for your Cultural Biography of an Object .  But it should not take the place of face-to-face conversation!  In addition to the  sessions held during your capstone course,  you can also consult with Prof. Heidi Kolk during office hours (see profile at lower left).  And as always, support in finding library resources for your research can also be provided by Jennifer Akins, the Subject Librarian for Art and Architecture (see profile at lower left).

The Cultural Biography (CB) of an Object

The Cultural Biography of an Object is a modestly-scaled writing + research project on a single material or visual object that is compelling/significant to you .  It asks you to explore core elements of that object’s life history , giving special consideration to its role and power as a product of culture .  In what sense does an object give voice, and/or speak back, to a set of cultural ideas and attitudes at a given time and place?  How have its meanings evolved?

In a 6-7 page paper you can only explore some elements of the object’s history, some aspects of cultural meaning or significance. Doing so will involve targeted research that is informed by specific questions ––research   that happens in stages, from doing initial observation and brainstorming to preliminary / contextual research to digging deeper in search of scholarly or other sources that help you answer your questions.

Reserve Books - Art Capstone

The following books are (or will soon be) on 2-hour reserve in the Kranzberg Art & Architecture Library. 

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• Last Updated: Jun 10, 2024 3:01 PM
• URL: https://libguides.wustl.edu/culturalobject

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• The Social Life of Things

The Social Life of Things

Commodities in cultural perspective.

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• Cited by 3302

This Book has been cited by the following publications. This list is generated based on data provided by Crossref .

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• Edited by Arjun Appadurai , New School University, New York
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Book description

The meaning that people attribute to things necessarily derives from human transactions and motivations, particularly from how those things are used and circulated. The contributors to this volume examine how things are sold and traded in a variety of social and cultural settings, both present and past. Focusing on culturally defined aspects of exchange and socially regulated processes of circulation, the essays illuminate the ways in which people find value in things and things give value to social relations. By looking at things as if they lead social lives, the authors provide a new way to understand how value is externalized and sought after. Containing contributions from American and British social anthropologists and historians, the volume bridges the disciplines of social history, cultural anthropology, and economics, and marks a major step in our understanding of the cultural basis of economic life and the sociology of culture. It will appeal to anthropologists, social historians, economists, archaeologists, and historians of art.

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Frontmatter pp i-iv

• Get access Check if you have access via personal or institutional login Log in Register

Contents pp v-vi

Contributors pp vii-viii, foreword pp ix-xii.

• By Nancy Farriss

Preface pp xiii-xiv

Part i - toward an anthropology of thing pp 1-2, 1 - introduction: commodities and the politics of value pp 3-63.

• By Arjun Appadurai , University of Pennsylvania

2 - The cultural biography of things: commoditization as process pp 64-92

• By Igor Kopytoff , University of Pennsylvania

Part II - Exchange, consumption, and display pp 93-94

3 - two kinds of value in the eastern solomon islands pp 95-109.

• By William H. Davenport , University of Pennsylvania

4 - Newcomers to the world of goods: consumption among the Muria Gonds pp 110-138

• By Alfred Gell , London School of Economics and Political Science

Part III - Prestige, commemoration, and value pp 139-140

5 - varna and the emergence of wealth in prehistoric europe pp 141-168.

• By Colin Renfrew , University of Cambridge

6 - Sacred commodities: the circulation of medieval relics pp 169-192

• By Patrick Geary , University of Florida

Part IV - Production regimes and the sociology of demand pp 193-194

7 - weavers and dealers: the authenticity of an oriental carpet pp 195-235.

• By Brian Spooner , University of Pennsylvania

8 - Qat: changes in the production and consumption of a quasilegal commodity in northeast Africa pp 236-258

• By Lee V. Cassanelli , University of Pennsylvania

Part V - Historical transformations and commodity codes pp 259-260

9 - the structure of a cultural crisis: thinking about cloth in france before and after the revolution pp 261-284.

• By William M. Reddy , Duke University

10 - The origins of swadeshi (home industry): cloth and Indian society, 1700–1930 pp 285-322

• By C. A. Bayly , University of Cambridge

Index pp 323-329

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Key Pages: Archaeologies of the Near East | Home - Weekly Schedule - Requirements - Assignments - Discussion - Resources for Research Joukowsky Institute for Archaeology

Joukowsky Institute for Archaeology & the Ancient World Brown University Box 1837 / 60 George Street Providence, RI 02912 Telephone: (401) 863-3188 Fax: (401) 863-9423 [email protected]

Assignment 2. Cultural Biography of Objects

This is a 3-5 page paper (double spaced/12 font) on the cultural biography/social life of an ancient/historical/contemporary object of your choice, to be accompanied with an image of the object posted on the wiki. You have many options about choosing an object for your interest: you could visit a museum such as the RISD Museum down the street, fall in love with some "thing" on display, and explore its thingly past. You could choose to write something that is truly mundane and from your everyday life such as a radio, an ipod, a suitcase, a fetish, a talisman, a photograph (but it has to be unique, with a unique life of its own, not generic). You could research online about a historical object such as an old map, an archaeological artifact, a work of art, a medieval relic, mummy powder. Just be creative in your choice, and choose a particularly powerful object. Below I will post some articles and books that may provoke some ideas. Please consider this as a mini research project: your paper should have proper bibliography, referencing, footnotes if necessary. Please consult this page in case you need guidance in writing.

Due: February 20, 2008 Wednesday on the wiki.

Inspirational Bibliography:

Submissions

Megan Boomer

Posted at Feb 20/2008 12:04AM: Megan : This image is of a teacup and saucer from the RISD Museum, made ca. 1820.

Not Just a Simple Bowl: The Cultural Biography of a Handcrafted Monks’ Bowl

Posted at Feb 20/2008 02:06AM:

Jenna : Handcrafted Monks' Bowl from Monks' Bowl Village or Baan Baat in Bangkok, Thailand

After a fiery bowl of tum yum soup, I huddled on the back of a Tuk Tuk and flipped through my Lonely Planet guidebook, searching for a mellower and more “authentic” alternative to the ubiquitous tourist-packed wats , or Buddhist temples of Bangkok. “Just when you start to lament the adverse effects of tourism, pay a visit to this handicraft village,” I read, and I knew I had found just the adventure I was looking for (124). Today, I am filled with fond memories as I glance at the black, handcrafted monks’ bowl sitting upon my bookshelf, knowing that its significance far transcends its utilitarian value. The monks’ bowl and the ritual of alms that accompanies it are defining aspects of Thai culture, and the disappearance of traditional methods of producing the bowl reflects a socio-cultural paradigm shift.

In a dilapidated shantytown off Bamrung Muang Road in Bangkok nestled between Chinatown and the Golden Mount temple, sits the Monks’ Bowl Village, or Baan Baat . Here, under corrugated iron roofs and amongst rubble, six families of artisans handcraft traditional monks’ bowls. Baan Baat is a nostalgic throwback to the days before the advent of the automobile caused stifling, limitless urban sprawl in Bangkok. The capital was historically organized into small neighborhoods, determined by occupation. Today, these neighborhood identities have dissipated, and the Monks’ Bowl Village is an anomaly.

However, the Monks’ Bowl Village is not only traditional in terms of the neighborhood artisan cooperative model; it is even more unique because it is the last manufacturer of handmade metal monks’ bowls still operating in Bangkok. During King Mongkut Rama IV’s mid-19th century reign, the standard earthenware alms bowls began to be replaced by more durable steel bowls. As the metal bowls were dramatically less prone to cracking, they quickly burgeoned in popularity, and Baan Baat thrived as Bangkok’s primary supplier. During the village’s heyday, it contained 100 families and produced 400-500 bowls a day (O’Reilly 48).

In recent decades, the Monks’ Bowl Village’s sales have plummeted due to the popularity and affordability of mass-produced industrial bowls, often imported from China. Today, the village produces less than 5% of its former yield. Even though the bowls are sold for 800 Baht (approximately $20), five times the price of machine-made bowls, profit margins are dangerously low. In fact, production costs alone can comprise 75% of the selling price (O’Reilly 50). According to the chairman of the Almsbowl Association of Thailand:

Most have already given up. Many of the dealers at Sao Chingcha who used to be our patrons have turned to the mass-produced bowls. Cheapness aside, the alms bowl mass-producers offer a better deal by giving a few months’ credit, while we ask for prompt cash. Without a definite market in sight, we people around here, one after another, are just saying goodbye to this profession. The younger generation goes out seeking day laboring jobs to make ends meet (O’Reilly 49).

Still, the devoted craftsmen laboring in the Monks’ Bowl Village insist that their bowls are higher quality and longer lasting than the mass-produced bowls. They claim that, in addition to tourists purchasing the bowls as souvenirs, some full-time monks still prefer and use the bowls. In particular, the monks of the stricter Thammayut sect, founded by King Mongkut Rama IV himself, strongly prefer the traditional bowls made at the Monks’ Bowl Village.

Not only can production costs alone equal 75% of the selling price, but the process of forging the bowls requires a prodigious expense of labor. As a visitor to the Monks’ Bowl Village, one of my draws was to witness the process, as promised in the Lonely Planet guide. The labor is divided into various tasks, each performed by a specialist in the village, who then passes the bowl onto another craftsman to perform the next step. Eight separate thin strips of steel cut from sheet metal form the bowl, representing the eight spokes of the wheel of Dharma and the Eightfold Path the Buddha followed to enlightenment. Thais almost exclusively are Buddhist, and the country is steeped in Buddhist symbolism, art, architecture, and ritual. Each of the eight segments is beaten and curved over a ball-shaped anvil and attached to a short stem stuck in the ground. Teeth are then cut along the edges so that the bowls can be interlocked and hammered together, using copper paste. Afterwards, the bowl is buried in a wood fire for a few minutes until the copper melts, wielding the joints. Finally, small indentations pounded with a hammer give the bowl relief and a spectacular texture, and the bowl is fired with a smooth coat of black lacquer. The ultimate product is exquisite and refined, emanating a handmade, one-of-a-kind quality.

Although today the handmade bowls are primarily purchased by eager tourists like myself looking for an “authentic” Buddhist souvenir, they are a fundamental aspect of Thai culture, absolutely essential to the vitality of monks and the karmic endeavors of laypeople. “Objects can be understood only through looking at the cultural contexts which originally produced them and the new circumstances into which they later moved,” explain Gosden and Marshall (174). Monks’ bowls are one of the eight material possessions traditionally permitted to monks, and every morning for thousands of years monks have walked the streets gathering alms in their personal bowls. However, the bowls are the antithesis of the cup a beggar waves desperately at passersby, as the monks are doing just as much of a favor to laypeople as the laypeople are doing for the monks. In accepting alms, the monk allows the commoner to gain merit, or karma , a vital concern in Buddhist cultures. For this reason, it is considered anathema for a monk to thank givers for food, as this gesture would imply that the act was merely a personal favor, meaning the giver would not gain karma. Anthropologist Claude Levi-Strauss theorizes that “the personal bond between the giver and the receiver,” defines gift giving (20). In the case of the monks’ bowl, the bond is less personal but more of a prearranged cultural ritual, which has been taking place for thousands of years. Thus, the significance of this type of gift is implicitly understood, and verbal communication between giver and receiver is superfluous and unconventional. In fact, the monks’ bowls are such culturally and religiously charged objects that an elaborate code governs their use. These regulations include, “A monk must not look inside another monks bowl,” and “A monk must not cover up the curry in his bowl with rice to make it appear he hasn’t been given any curry” (Ward 93).

Reflecting the fact that the bowls are imbued with a rich religious significance that transcends their status as material objects, the inhabitants of the Monks’ Bowl Village have an annual wai kru ceremony during which they pay respect to the leader of their community and the spirits of their ancestor craftsmen. Held on a Thursday in April, during this celebration the village assumes a bit of the bustling, vivacious atmosphere it used to always have at times when there was a greater market for the bowls. The patriarch of the community leads the ritual, and he dabs the center of each community member’s forehead with a fragrant paste as they gather to show their respect for their ancestors. The scene is completed by traditional Thai dancers, along with food offerings presented to the small shrines called spirit houses protecting each craftsman’s home. Flower garlands, a common religious object in Thailand, are draped over the tools during the ceremony (O’Reilly 49).

The Thai alms bowl is the lifeblood of the monks who carry it, and the transformation in its production method sheds light on the rapid pathology of industrialization and tourism that has affected Thailand. When tourists visit the Monks’ Bowl Village and purchase the bowls, they are often completely unaware of the rich social and religious tradition they are connecting themselves with. Ironically, today most monks cannot afford to purchase a handcrafted traditional bowl, and tourists are the primary patrons that keep the Monks’ Bowl Village alive. This shift carries with it a shift in significance and usage of the bowls, which often sit as proud tokens on travellers’ mantels or bookshelves as opposed to being used by monks to collect alms. Can the Monks’ Bowl Village today still be called legitimately authentic or traditional when it would not survive without the patronage of tourists, or is this a bastardization of the original meaning of the bowls? The very tourists whose funds make it possible for the village to continue practicing the craft of their ancestors are simultaneously the greatest contributors to a the shift in the cultural biography of the bowls.

Cummings, Joe, et al. Thailand . England: Lonely Planet Publications, 11th Edition, 2005.

Gosden, Chris &Ywonne Marshall. “Cultural biography of objects.” World Archaeology . Volume 31, No. 2: 169-178.

Hoskins, Janet. “Agency, biography and objects.” Published in Handbook of Material Culture . C. Tilley et al. (eds.), p. 74-84. London: Sage Pub.

Into Asia. http://www.into-asia.com/bangkok/districts/banglamphu.php > Into Asia, 2000-2006. Accessed on February 18, 2008.

Levi-Strauss, Claude. “The Principle of Reciprocity.” The Gift: An Interdisciplinary Perspective . Ed. Aafke E Komter. Holland: Amsterdam University Press, 1996.

O’Reilly, James & Larry Habegger. Travelers’ Tales: Thailand . Berkeley, CA: Publisher’s Group West (p. 147-151), 1993.

Ward, Tim. What the Buddha Never Taught . IntermediaCT Books, 2007.

Posted at Feb 20/2008 08:09AM: carrie : Painted cotton cloth from Aswan, Egypt. Material (of the Fabric Variety) and Me: the social life of a cloth

Posted at Feb 20/2008 09:03AM: Sheetal : A Bahis or record keeping book from Haridwar, India.

Posted at Feb 20/2008 09:24AM: anjana : Barbed wire: This is a photo of a doll caught in the barbed wire wall that has separated Devenport, Plymouth since the 1950s. Devenport was once home to the rich and successful until it was destroyed by Hitler. Now there is a project in place to restore Devenport to its former glory -- the first step: dismantling the wall. Image credit: BBC http://www.bbc.co.uk/devon/content/image_galleries/devonport_wall_demolition_gallery.shtml?5

Posted at Feb 20/2008 02:09PM: Ashley : My Camera - Olympus Camedia Digital Camera D-560 ZOOM

Posted at Feb 20/2008 06:22PM:

Posted at Feb 20/2008 06:23PM: Kelly : Meet Molly, an American Girl Doll

Posted at Feb 20/2008 06:49PM: Megan : My image is at the top of the page, but Teacup is the paper file.

Posted at Feb 20/2008 09:12PM: Vanessa : my paper is the ARCH1600paper2 file on the evolution of the high heel/shoe.

Posted at Feb 20/2008 10:43PM: Sheetal : My image is further up but here is my paper.

Posted at Feb 20/2008 11:28PM: Gareth : My image is above.

Posted at Feb 20/2008 11:47PM: benjamin : my file is above

Rosalie : A true grandfathers' clock

Oliver : Culture of luxury (File removed at the request of the author)

Jonathan A. Seitz, "Protestant Missionaries in China: Robert Morrison and Early Sinology" (U Notre Dame Press, 2024‪)‬ New Books in Biography

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With a focus on Robert Morrison, Protestant Missionaries in China: Robert Morrison and Early Sinology (U Notre Dame Press, 2024) evaluates the role of nineteenth-century British missionaries in the early development of the cross-cultural relationship between China and the English-speaking world. As one of the first generation of British Protestant missionaries, Robert Morrison went to China in 1807 with the goal of evangelizing the country. His mission pushed him into deeper engagement with Chinese language and culture, and the exchange flowed both ways as Morrison—a working-class man whose firsthand experiences made him an “accidental expert”—brought depictions of China back to eager British audiences. Author Jonathan A. Seitz proposes that, despite the limitations imposed by the orientalism impulse of the era, Morrison and his fellow missionaries were instrumental in creating a new map of cross-cultural engagement that would evolve, ultimately, into modern sinology. Engaging and well researched, Protestant Missionaries in China explores the impact of Morrison and his contemporaries on early sinology, mission work, and Chinese Christianity during the three decades before the start of the Opium Wars. Byung Ho Choi is a Ph.D. candidate in the History and Ecumenics program at Princeton Theological Seminary, concentrating in World Christianity and history of religions. His research focuses on the indigenous expressions of Christianities found in Southeast Asia, particularly Christianity that is practiced in the Muslim-dominant archipelagic nation of Indonesia. More broadly, he is interested in history and the anthropology of Christianity, complexities of religious conversion and social identity, inter-religious dialogue, ecumenism, and World Christianity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

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Glen Powell’s Hit Man Character Is Based on Real Texas Investigator Gary Johnson

Actor Glen Powell plays a fictional version of Gary Johnson, a Texas investigator who went undercover to help prosecutors with murder solicitation cases.

Most people who met Gary Johnson found him a quiet but polite neighbor who worked in human resources and had two cats. They had no idea that, to others, he was Mike Caine, Jody Eagle, or Chris Buck—an undercover hit man for hire.

While Powell’s hired gun is portrayed as a master of eccentric disguises, the real Johnson, who died in 2022 , was a no-nonsense investigator who used his beguiling charm to help authorities in and around Houston make dozens of arrests related to murder solicitation.

Johnson had a long career in law enforcement

Long before his detective work became fodder for a big screen adaptation, Johnson lived a quiet life in rural Louisiana. Born in 1947, he grew up on a farm with his father, a carpenter, and mother, a housewife.

According to a 2001 Texas Monthly article by journalist Skip Hollandsworth, which largely inspired the new movie, Johnson spent a year in Vietnam as a military policeman overseeing convoys. Upon his return to the United States, Johnson embarked on a domestic law enforcement career, starting as a sheriff’s deputy in Louisiana in the 1970s and performing undercover work related to drug busts.

Despite his experience, his desired career path was actually teaching college psychology. He moved to Houston in 1981, hoping to attend the psychology doctoral program at the city’s namesake university but was rejected.

Instead, he took a job as an investigator for the district attorney’s office. While his time there was relatively uneventful to start, he was assigned a case in 1989 that would change his life. Police received a tip that Kathy Scott, a 37-year-old lab technician at a paper company, was plotting “an elimination” of her husband after a four-month marriage.

Johnson, tasked with extracting a confession, dressed as a biker with a fake name and met Scott at a bowling alley. She confided in him fully, offering a $100 down payment for her husband’s proposed killing. She was eventually sentenced to 80 years in prison .

The sting was the first of many for Johnson.

Johnson wasn’t an actual hit man

Johnson investigated hundreds of murder-for-hire allegations and helped facilitate dozens of arrests through his undercover examinations. But contrary to what he suggested to potential clients, he never actually killed anyone.

According to Texas Monthly , Johnson received case tips via a black telephone inside his home. The vast majority of requests he investigated weren’t from experienced criminals. “My people have spent their lives living within the law. A lot of them have never even gotten a traffic ticket,” Johnson explained. “Yet they have developed such a frustration with their place in the world that they think they have no other option but to eliminate whomever is causing their frustration. They are all looking for the quick fix, which has become the American way.”

His work wasn’t entirely done out in the field and incognito. Johnson spent much of his time at the district attorney’s office, working with recording equipment to improve or make duplications of tapes for prosecutors to use at trials.

Away from work, he tried to blend in

Johnson maintained an unassuming demeanor when he wasn’t on a case, spending time at his home gardening and meditating. In addition to his cats, Id and Ego, he kept goldfish as pets in a small pond. He never lost his passion for teaching, serving as a human sexuality and general psychology professor two nights per week at a nearby college.

“It’s still amazing to me that he can turn on this other personality that makes people think he is a vicious killer,” Johnson’s second wife, Sunny, told Texas Monthly .

Still, Gary admitted the job provided “a rather depressing outlook on the human condition,” and he struggled to sustain long-term relationships, having been married and divorced three times. “I think it would be fair to say that I don’t let many people get too close,” he said .

Watch Hit Man on Netflix

While Hit Man is based on the real Gary Johnson, the movie’s larger plot twists and much of Powell’s antics are completely fictional, according to director Richard Linklater. “The real Gary did slight disguises but not the extent that we see in the film. I was like, ‘Should we really do a Russian accent?’ But Glen just pushed all of that to the max, and I love how it came out,” Linklater told Netflix .

That said, Linklater and star Glen Powell did utilized recordings and police briefings while conducting their research for Johnson’s portrayal in the movie. Johnson wasn’t involved in the production of Hit Man , which began streaming on June 7 .

Catch Powell as Johnson and all his complex personas now on Netflix. The movie also stars Adria Arjona as his love interest, Maddy Masters.

Tyler Piccotti first joined the Biography.com staff as an Associate News Editor in February 2023, and before that worked almost eight years as a newspaper reporter and copy editor. He is a graduate of Syracuse University. When he's not writing and researching his next story, you can find him at the nearest amusement park, catching the latest movie, or cheering on his favorite sports teams.

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How to Watch & Stream A&E’s ‘Biography: Bret Michaels’ for Free Online

A&E promises fans will be "rocked, shocked, engaged, and inspired" by the two-hour special. Here's how to watch Biography: Bret Michaels for free online.

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Want to know the full story behind Poison frontman Bret Michaels ‘ legendary life and career? On Sunday, he’s getting the full A&E Biography treatment.

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“Bret gave us unprecedented access to his private archive and spoke about never-before-revealed topics for the first time with emotion, raw honesty, and a sense of humor,” said Brad Abramson, Vice President, Head of Documentaries at A&E. “The film also includes first-time interviews with his daughters Raine and Jorja. I think his fans will be rocked, shocked, engaged, and inspired by the special.”

Keep reading for details on how to watch and stream from anywhere.

Where to Watch Biography: Bret Michaels Online

A&E is available on DirecTV , Fubo TV , Sling TV , and Philo . Check below to find the best streaming option for you.

DirecTV Stream

Don’t have cable? You can also watch the via  DirecTV Stream . New subscribers get a five-day trial when they sign up for any of the four packages. With ABC included in every package, you can enjoy livestreaming Bret Michaels Biography, the NBA Finals, and more from any device of your choice. 

You can stream the Biography: Bret Michaels show on  Sling TV . With Sling Orange , you can stream A&E and other channels for $15 for your first month (regularly $40/month). It includes 32 channels with seven exclusive  sports  and family channels. Sling Blue is $20 for your first month (regularly $45/month), and it also includes A&E and a total of 42 other channels.

Looking for another alternative streaming platform ? Philo provides over 80 channels that you can stream for free without needing a credit card. All you need to do is sign up and try it out.

Philo Free Channels  includes DVR recording that you can store for up to 30 days at a time. By upgrading to  Philo Core  for only $28 per month, you gain streaming access to an additional 70+ channels such as A&E, MTV, Lifetime, OWN, Nickelodeon, Nick Jr., HGTV, TLC, BET, FYI, WE tv, Logo and Discovery Channel.

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Two Case-Shattering Clues Point to the Real Name—and Face—of Jack the Ripper

A dusty artifact may be the key to solving one of true crime’s oldest mysteries.

The legendary mystery of Jack the Ripper ’s true identity, an enigma that has endured for over a century, may be coming to an end thanks to the re-emergence of an old memento and a new theory proposed by a former police volunteer.

Are true crime obsessives headed down yet another tantalizing shrouded alley, only to find a dead end? Or will there finally be a proper face put to the notorious name that, once whispered in fear, is now shouted by endless tour guides in the Whitechapel district of London?

Perhaps the most famous cold case in history, the mystery of Jack the Ripper’s real name has attracted more sleuths, professional and amateur, than any other case of the last 130 years. That the identity of the killer has remained unknown all this time has allowed him to slip into the realm of the morbidly fantastical, like the fictional occupants of penny dreadful novels such as Sweeney Todd and Springheel Jack.

Jack the Ripper has inspired films, novels, operas, and video games. He’s even tousled with Batman on the illustrated page . After all, innumerable theories abound as to the identity of London’s most infamous killer, and since we’ve long been left wondering who he was—or what he even looked like—we’ve let our minds imagine anyone , real or fake, wandering the foggy streets of Whitechapel.

But now, we may actually be close to answering the impossible question: Just who was Jack the Ripper?

What Are the New Clues That Reveal Jack the Ripper’s Identity?

A newly rediscovered artifact that once belonged to Frederick Abberline, a detective who investigated Jack the Ripper back in 1888, is the first intriguing development.

As the New York Post reports, a custom-engraved walking stick that Abberline owned had long been held within the Police College in Bramshill, Hampshire, but it “...was feared lost when the institution was shut down in 2015.”

However, the cane recently reappeared when staff members at the College of Policing’s headquarters Ryton were “searching through memorabilia.” The cane itself, in addition to being photographed and posted online, is now on display at the College of Policing “to highlight advancements in police technology to recruits.”

This walking stick is significant because Abberline had carved into the cane the only existing composite image ever made of Jack the Ripper, based on witness testimony. While the cane alone doesn’t tell us who the infamous killer really was, its rediscovery does allow us to put a face to the Jack the Ripper.

A single cane from the 1800s may not close the case by itself, but a former police volunteer believes that combining the same kind of witness testimonies that led to that composite image with a close examination of medical records of the era could lead to a suspect long overlooked in the investigation.

As noted in The Independent , Sarah Bax Horton, the grandchild of an investigator who worked on the Jack the Ripper case, believes she has found the man responsible for the grisly Whitechapel murders.

Through examining medical records of the era, Horton says she has identified cigar maker Hyam Hyams as the real man behind Jack the Ripper. While Hyams’ profession likely means he was proficient with a knife, the weapon used in the Jack the Ripper killings, Horton’s theory relies more on the maladies that afflicted Hyams, both mental and physical, which align with what we know about Jack the Ripper.

“For the first time in history, Jack the Ripper can be identified as Hyam Hyams using distinctive physical characteristics,” Horton told The Telegraph regarding her theory. Reviewing medical notes for Hyams, Horton found that he had “an irregular gait and an inability to straighten his knees, with asymmetric foot-dragging.” Eyewitnesses in the Jack the Ripper investigation noted that the infamous killer also had an irregular gait.

Horton also notes that Hyams had a documented history of mental illness and violent outbursts. The Independent notes that Hyams “...repeatedly assaulted his wife, fearing she was cheating on him, and was eventually arrested after attacking her and his mother with a ‘chopper’.” Records of Hyams from across a number of infirmaries and asylums indicate that “his mental and physical decline coincided with the Ripper’s killing period, escalating between his breaking his left arm in February 1888 and his permanent committal in September 1889.”

Of course, this triangulation of medical records and century-old eyewitness reports is unlikely to be enough to get most self-described “Ripperologists” to declare “case closed.” But one has to wonder: At this point, what would be enough?

Is it possible that there could ever be a satisfying conclusion to the world’s most famous cold case? And why does it continue to captivate true crime enthusiasts all these decades later?

Was Jack the Ripper the First Serial Killer?

Jack the Ripper, a moniker adopted for the unidentified murderer, was not by any means the world’s first “serial killer.” History, unsurprisingly, is littered with figures who would fit that bill depending on how specific a definition you choose.

Liu Pengli, the Prince of Jidong in the 2nd century B.C., slaughtered over 100 civilians. Dame Alice Kyteler, the “Witch of Kilkenny,” poisoned four of her husbands in 1300s Ireland. Joan of Arc ’s comrade-in-arms Gilles de Rais confessed to the killing of over 100 children. Countess Elizabeth Báthory ’s alleged killings of servant girls had already become the stuff of macabre folklore by the time the Whitechapel murders began. And there are countless figures in history who could be rightly categorized as serial killers, despite their victims being viewed as “property” or “subhuman” by the ruling governments of the time.

But while Jack the Ripper wasn’t the first serial killer by any means, he was the first to become a media sensation, and the subject of fascination on a global scale. He may not have been the first serial killer by the literal definition, but in the manner in which we view the macabre topic, the exploits of the unknown man behind the moniker set the template for more than a century of morbid speculation and fascination.

Who Did Jack the Ripper Kill?

There are five “canonical” murders attributed to Jack the Ripper: those of Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly. (Of course, as is the case even today in cold case investigations, there are other killings that are at times theorized as also being at the hands of the same murderer.) Biography notes that these murders all took place from August 7 to September 10, 1888, all within one mile of each other, and all targeting women of the same profession: sex workers.

As Biography points out, typically “the death or murder of a working girl was rarely reported in the press or discussed within polite society.” One might think that the “sadistic butchery” of the Jack the Ripper killings might have pushed their discussions further to the fringes of societal conversation, rather than to the center of public fascination. Instead, the newly affordable mass media of the time allowed the Jack the Ripper saga, including a series of mocking letters the killer reportedly sent to Scotland Yard, to serve as a macabre mirror to a society that had been otherwise priding itself on its progress and achievement.

What Was Jack the Ripper’s London Like?

The 19th century, at least in the eyes of high society, saw the United Kingdom launch itself into modernity. The era of Queen Victoria saw England’s streets becoming bathed in gaslight, the skyline filled with smokestacks from the Industrial Revolution. It was Isambard Kingdom Brunel connecting the nation through the Thames Tunnel, the Great Western Railway, and the SS Great Briton, amongst others. To stand in some parts of London by the latter decades of the 19th century must have felt as though one had stepped into the future, with wonders and marvels of modernity accessible to the many rather than simply the few. This was the side of London that Great Britain wanted the world to know about.

But of course, London is a big city. And the bright lights shone on some parts also cast shadows on all the rest. Such is the case in Whitechapel and its surrounding areas, where Jack the Ripper stalked his prey.

Here’s how Biography sets the scene:

"In the late 1800s, London's East End was a place that was viewed by citizens with either compassion or utter contempt. Despite being an area where skilled immigrants, mainly Jews and Russians, came to start a new life and start businesses, the district was notorious for squalor, violence and crime. Prostitution was only illegal if the practice caused a public disturbance, and thousands of brothels and low-rent lodging houses provided sexual services during the late 19th century."

In Victorian Parliament’s push for progress, poverty became a consequence. This industrial projects displaced a large number of people, such that even Conservative Party members were demanding social reform to repair the damage done. “Laissez-faire is an admirable doctrine,” Conservative Party leader Lord Salisbury said in an 1883 National Review article entitled ‘Labourers’ and Artisans’ Dwellings , “...but it must be applied on both sides.”

Much was made of the squalor in which the poor and working class were living while the wealthy in London lavished in the height of modernity. Parliament passed The Housing of the Working Classes Act 1885, which allowed them to condemn buildings they deemed slums. But this was merely a cosmetic action; the 1885 act did not allow for the government to create any new residences for the now-displaced people within them.

How Did Jack the Ripper Change the World?

The Jack the Ripper murders served as a wake-up call for Great Britain and the world, as the details of these grisly, monstrous crimes were contrasted against the supposedly advanced society that had inadvertently created the circumstances that had allowed them to fester.

The same forces and actions that allowed for the creation of the London Underground also created the seedy London underbelly that fed victims to craven creatures like Jack the Ripper. In much the same way the Manson murders in America 80 years later would be contrasted against the optimistic “Flower Power” movement of its era, Jack the Ripper forced the public to reconcile with the consequences of the steam-powered era of Isambard Kingdom Brunel, and wonder if this utopian vision wasn’t terribly unstable as well.

The mystery of Jack the Ripper casts a long shadow over London to this day. Clearly, amateur sleuths still puzzle over the identity of the man who wielded a knife on the streets of London, and claimed the lives of innocent women struggling to get by. But the most significant consequence of the killings isn’t a century of true crime speculations, nor the many books, films, and walking tours it inspired.

The reporting in the press on the Jack the Ripper killings led to a public outcry amongst the populace for social reforms to protect the most vulnerable. Reacting to the outcry, Parliament passed, amongst other acts, the Housing of the Working Classes Act 1890, which now gave them the ability to purchase land and build new housing for those displaced by the condemning of buildings deemed to be in poor condition.

In a bit of pithy commentary, playwright George Bernard Shaw declared in The Star that Jack the Ripper had, in his brutality, led to more social change than any academic or activist of the era:

“Now all is changed. Private enterprise has succeeded where Socialism failed. Whilst we conventional Social Democrats were wasting our time on education, agitation, and organisation, some independent genius has taken the matter in hand, and by simply murdering and disembowelling four women, converted the proprietary press to an inept sort of communism.”

Why Are We Still Searching for Jack the Ripper?

Like Sarah Bax Horton taking her grandfather's cause into the 21st century, we culturally cannot let go of Jack the Ripper. You can chalk it up to a fascination with serial killers and true crime. You can attribute it to its inseparability from the “steampunk” vibes of 19th century London. And of course, it will be argued that the mystery of Jack the Ripper’s real identity is what keeps us coming back to the sordid tale.

But our fixation may well mask a deeper question raised by the story of the Whitechapel murders, one on which it’s far less fun to ruminate. Abberline’s cane—the one with the supposed face of the killer—is on display at the College of Policing not in the hopes that someone might walk past and suddenly solve the case, but rather, to inspire a reflection on that dark past, and how far “advancements in police technology” have come.

Jack the Ripper, in absence of a biography of the killer to cling to, is instead a composite of the world he inhabited: the gaslights, the poverty, the easy prey, and the depravity that kept a country darkly fascinated. And as long as we must settle for the setting of the crimes in absence of facts about the killer, then staring at a carved face or corroborating medical records raises a question more lurid than, “Who was Jack the Ripper?”: that of “How did a supposedly great society allow such horrors to happen?”

And that’s a scarier thought than any walking tour or comic book could conjure.

Michael Natale is the news editor for Best Products , covering a wide range of topics like gifting, lifestyle, pop culture, and more. He has covered pop culture and commerce professionally for over a decade. His past journalistic writing can be found on sites such as Yahoo! and Comic Book Resources , his podcast appearances can be found wherever you get your podcasts, and his fiction can’t be found anywhere, because it’s not particularly good. 

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